Suche:eas

From dreamy indie pop to melancholic ambient fragments to crazy distortion pedals, The Me In You has never sounded more adventurous without losing sight of cohesion.

Press:
Humo: “The Me in You simply offers more colour and dimension than most other Belgian pop groups”
OOR: ‘A wonderfully addictive album for connoisseurs.’
Het Nieuwsblad: ‘Duyster music that gets under your skin.’
Le Soir: ‘Every song, every melody manages to surprise us.’
Stu Bru: Catch of The Day – De Afrekening list
Radio 1: Top 10 Vox list – A Rotation

This album brings together some of the finest music ever released on Black Jazz Records which in its short four-year history, between 1971 and 1975, released over 20 superlative albums which all successfully blending spiritual jazz, funk and soul jazz of the highest calibre. Similar to other independent jazz labels at the time, including Strata-East Records and Tribe Records, Black Jazz focussed on a number of key artists, most of whom first established their career during this period, and all of whom are featured here. Featuring The Awakening, Doug Carn, Walter Bishop, Chester Thompson, Kellee Patterson and more. Black Jazz Records was founded in Oakland, California, by pianist Gene Russell and percussionist Dick Schory.

The label released twenty albums between 1971 and 1975. Artists who recorded for Black Jazz Records included Cleveland Eaton (bassist for Ramsey Lewis), keyboardists Doug Carn and Chester Thompson, vocalist Kellee Patterson, saxophonist Rudolph Johnson, bassist Henry Franklin, and spiritual fusion group The Awakening. The label was distributed and financed by Ovation Records, based in Chicago. Schory founded Ovation in 1969, shortly after leaving RCA. Schory was a Grammy-nominated percussionist who was also known for his development of the stereo recording techniques including Dynagroove and RCA Victor’s Stereo Action. Schory also pioneered quadrophonic sound, and a number of Black Jazz Records were in quadrophonic and other formats such as ¼” tape and 8-track.

Black Jazz launched in 1971 with Gene Russell’s ‘New Direction’. Russell was the creative force behind the label, acting as producer, engineer and A&R and focussed on developing new solo artists. The most successful of these was Doug Carn, who released four albums featuring his wife, Jean Carn, as vocalist. She later changed her name to Jean Carne and became a successful soul singer signed to Gamble and Huff’s Philadelphia International empire.

This 7" record by Agogo Records features two remixes by Mo' Horizons. Track one is a cover of Nat King Cole's "Calypso Blues", performed by percussionist and singer Nené Vasquez, who is part of the Mo' Horizons family and used to play in Shakira's band in a former life. Super Oud is a musical project from Bremen, Germany, combining traditional Middle Eastern sounds with modern electronic grooves.

a. Nené Vasquez - Calypso Blues (Mo' Horizons Remix)
Written by Nat King Cole & Don George. Published by Crestview Music.
Original production by Nené Vasquez. Remix production by Ralf Droesemeyer.
Lead Vocals by Inna Vizotska. Additional Remix Vocals by Frankie Figueroa.

b. Super Oud - Zala (Mo' Horizons Remix)
Written by Claas Bösling & David Niedermayer.
Original production by Claas Bösling. Remix production by Ralf Droesemeyer.
Oud by David Niedermayer. Remix Vocals by Marriam.

Walter G & Jay Caruso deliver a warm, groove-led Soulful Disco version of “From East To West”, built for DJ’s who appreciate real disco dynamics. Rolling basslines, bright piano chords and lush strings wrap around an emotive vocal, creating a timeless club-ready moment that bridges classic 70s soul-disco with modern dancefloor aesthetics. Ben Liebrand delivers a classic 12-inch reconstruction rather than a modern nu-disco vibe. It leans into Ben Liebrand’s signature extended format philosophy, letting the groove breathe. His is a rhythm-first reconstruction with crisp percussion, dynamic low-end and long instrumental sections. The vocal sits naturally within the groove, while the arrangement allows DJs space to build, ride and transition with ease. Less modern sheen, more heritage authority, a purist disco tool with timeless floor appeal.

Just east of Hollywood, Tommy Peltier"s made sweet music in the Echo Park hills for over sixty years. A jazzman first, he recast himself in 1970 as an LA troubadour, crafting a set of glitter-light pop tunes that somehow missed release "til now. Recorded "70-"76 all over town & mixed and mastered by Jim O"Rourke, Echo Park is an encompassing trip through a whole other time and place. Echo Park captures the smooth sounds, glamour "n free spirits to be found just down the street from Tinseltown in its golden day. Tommy has continued to play music, releasing new stuff with Plastic Theatre Art Band in 1996, and a number of releases under his own name, most recently in 2011. And at the ripe young age of 90(!), he"s still playing today!

Moo is the first wide release on my new label MUP! When I decided to make a new record, it only seemed right to go back to what brings me the most joy, which is, Rock & Roll music. I got my Tascam 388 fixed, the same tape machine I had used to record my first album, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years, but I had finally dragged it out to LA. I stopped caring if there were mistakes. There’s not enough mistakes. I played my old, blue, Gibson SG, Jazijoo, and she spewed mangled electrified gold. For once, I sang and I didn’t hate my voice. I played the drums badly and bounced them in mono to one track and it sounded like glorious shit. I wish it sounded even worse. Rock & Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey, autotuned or on the grid. It is not perfect, which is why it’s perfect. And I don’t care if it’s dead or alive, cool or uncool: when I hear it, and when I play it, as a chubby and balding 43 year old punk weirdo, I FEEL ENERGIZED. All in all, MOO is a full circle moment. A return to form. A return to rock. A return to Vermont. A return to myself. Reconnecting the dots. Restarting the engine. Plugging in the stack. Finally letting King Tuff be King. Fucking. Tuff.

Moo is the first wide release on my new label MUP! When I decided to make a new record, it only seemed right to go back to what brings me the most joy, which is, Rock & Roll music. I got my Tascam 388 fixed, the same tape machine I had used to record my first album, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years, but I had finally dragged it out to LA. I stopped caring if there were mistakes. There’s not enough mistakes. I played my old, blue, Gibson SG, Jazijoo, and she spewed mangled electrified gold. For once, I sang and I didn’t hate my voice. I played the drums badly and bounced them in mono to one track and it sounded like glorious shit. I wish it sounded even worse. Rock & Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey, autotuned or on the grid. It is not perfect, which is why it’s perfect. And I don’t care if it’s dead or alive, cool or uncool: when I hear it, and when I play it, as a chubby and balding 43 year old punk weirdo, I FEEL ENERGIZED. All in all, MOO is a full circle moment. A return to form. A return to rock. A return to Vermont. A return to myself. Reconnecting the dots. Restarting the engine. Plugging in the stack. Finally letting King Tuff be King. Fucking. Tuff.

Coming out of some serious health issues which undermined his singing capacity, Jon came back with this solo album which can easily be rated among his best ever. The album has a convincing spiritual mood enriched by means of an intelligent variety of tunes, from the most religious ones, to more symphonic compositions à-la "Jon & Vangelis”. His old buddy Rick Wakeman appears on this album along with other brilliant musicians who are able to create a very organic work as a whole. It is a wonderful, a hugely enjoyable musical, spiritual, and vocal journey with one of rock's most important contributors.

Following the digital release of the single “Meu Canto” in early February 2026, Gerardo Frisina and singer Luzia Dvorek return to Brazilian music with a new and compelling interpretation of a timeless classic, “A Lenda do Abaeté” by Dorival Caymmi; the release of this 45rpm single brings to a close a special project entirely dedicated to Bahia, the beating heart and symbol of Brazilian culture.

“Meu Canto” takes shape from an original composition by Gerardo Frisina, who signs both music and production, crafting a soundscape that is suspended between delicacy and depth upon which Luzia Dvorek - joined by songwriter Toco, whose refined backing vocals further enrich the song’s emotional dialogue - has drawn the melodic line and written the lyrics. A journey into roots and origins that tells the story of Luzia’s family, deeply embedded in the warm, fertile land of northeastern Brazil. “Meu Canto” sees also the participation of Alfonso Deidda on flute, whose airy timbre introduces new shades of color to the composition.

In “A Lenda do Abaeté”, the 45rpm B-side, Gerardo Frisina weaves an elegant and immersive rhythmic framework, evoking soundscapes that feel both deep-rooted and timeless. Within this setting, Luzia Dvorek’s voice unfolds with emotional intensity, balancing expressive strength and subtle delicacy as it narrates the ancient legend of the Abaeté lagoon. A place steeped in charm and mystery, suspended between myth and reality, whose stories have been passed down through generations in Salvador, in Brazil’s north-eastern region.

The project is further enriched by the acoustic guitar of Francesco Borrelli - who also took care of the tracks mixing and mastering - and Toco’s distinctive vocal contributions, which add depth and nuance to the overall sound.

2026 Repress

For all those who relate “maybe to the wind, because they can feel it, or dirt, because they can touch it. But nothing else.” Like Bobby Cornett (aka Shane), we are all trying to find where we belong.

Belong To The Wind marks Forager Records’ debut release: A lovingly curated collection of crooning psychedelic folk and soul songs gathered from American 45s of the 1970s. The compilation features 10 songs from 10 different acts, each with an indelible story of love, loss, loneliness, and an unrelenting desire to shed the confines of routine existence.

Meet a man named Denny Fast, perched behind a tobacco stained piano in a smokey Michigan lounge. He’s singing of the faded memory of distant hope and better times past. Listen to a portrait of the heartless Texan, told in arrestingly angelic prose by Connie Mims of St. Elmo’s Fire. Contemplate with Snuffy, the honest musings of a failed and misunderstood outsider, daring to hope for change.

Belong To The Wind aims to shed light on the more opaque cuts of these brooding artists. Many of these songs were recorded at the early stages of a career, at a time when experimenting and searching are pursued with reckless abandon. As a result, these songs are aggressively honest and uncompromising. Many have a distinct sense of the lo-fi DIY variety. Others are polished in production. Some are minimal, tentative and vulnerable. What all of these songs share, is a transportive quality. An uncanny ability to take a captive listener on a search for the soul, and a journey into the bellowing fields of easy reflection.

Sit back and enjoy a soft trip through the hazy milieu of a loner’s mind.

AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

Expanded Edition Double Cassette Box Set including main album and Bonus Cassette with unique download cards


AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

It’s 5 AM, the world is still quiet as dawn begins to rise. While most are asleep, a few of us are in the final stretch, finishing last edits or easing into the day, surrounded by scattered notes in the living room with a sleepy cat nearby.

5 AM Study Session is a tribute to the early risers and the night owls. This collection of 34 tracks carries early-morning focus and momentum, guiding you through the quiet and setting the tone for the day ahead. Sunlight slowly peeks in as the melodies play, creating a soundtrack for productivity and peace.

The physical edition captures the warmth of a fresh cup of coffee: pressed on double "Morning Latte" marble vinyl, the swirling beige and brown tones mirror the cozy, studious atmosphere of the artwork. A tangible reminder that the best work often happens when the world is still.

Slip on your headphones, pour a hot drink, and let the sunrise guide your workflow.

Jeb Loy Nichols is at it again with a brand new 7” that pairs two sides of his soulful storytelling. On the A-side, the exclusive cut “Do The Get Together” makes its debut – a slow-burning southern soul dancer that gently calls people closer, both on the dancefloor and beyond it. With warmth, patience, and a steady groove, Nichols invites connection without force, offering a quiet reminder that togetherness can still feel natural and unpretentious.

Driven by Cold Diamond & Mink’s deep-pocket rhythm and understated analog textures, “Do The Get Together” unfolds with ease. The groove never rushes, allowing Jeb’s voice to guide the message with soft authority and lived-in wisdom. It’s a song that feels tailor-made for late-night spins, where movement and meaning find common ground.
On the flip, “First Night Away From Home” brings listeners back to the opening chapter of Nichols’ latest album This House is Empty Without You. Warm, melodic, and intimate, the track captures that mix of vulnerability and quiet resolve that defines Jeb’s songwriting. Together, these two sides form a perfect 7” pairing, pressed for those who value soul that speaks gently but stays with you

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

This double LP yellow vinyl 20th anniversary release of G. Love's "Lemonade" celebrates one of his most beloved and successful records. The release accentuates G. Love’s unmistakable blend of blues grit, hip-hop cadence, and sun-kissed songwriting and captured a creative peak that welcomed an all-star cast of collaborators including Jack Johnson, Ben Harper, Marc Broussard, Blackalicious and more. Critics praised its warmth and ease, often calling it one of G. Love’s most effortlessly joyful projects, and fans have carried its songs with them for two decades.

The track shows SUEP at their best - glistening synth pop with Marr-esque jangle, sweet but emotionally incisive. Singer Georgie Stott - also known for being the keyboardist of the recently ended Porridge Radio - is at peak performance, marrying catchy melodies with off-kilter storytelling.
Receiving acclaim across BBC 6 Music and the indie press for their ‘car boot sale’ pop music, SUEP rummage through the jumble bin of music history, selecting and reassembling its best parts into something playful, strange and deeply artful. The band are affiliates of the Gob Nation collective - including The Tubs, Sniffany & The Nits, Ex-Void, and others., described by the Guardian as uniting around “a leftfield sensibility, lacerating wit and snotty attitude.”

With a slightly darker edge than their delightful EP Shop or last year’s groovy The Rain, Highway II tells the story of hope slamming into disappointment - a Valentine’s date gone wrong. Tears, cigarette breaks, running makeup and snotty sleeves paint a picture of painful emotional dislocation. It comes with an incredible, multilayered dance-routine music video from frequent collaborator, artist Jess Power.

Singer Georgie Stott says: “The lyrics for this poured out of me on Valentine’s Day when me and my partner went out on a date in the Limehouse area, over the river from where we lived in Rotherhithe. I got drunk too quickly, he got grumpy, and tears started streaming down my face because I just wanted to have a nice romantic time. We made up in the Canary Wharf Wetherspoons at the end of the night, but I went to have a cigarette before, to get out all my sobs and wrote all the lyrics on my phone in one go. Then at a practice studio we quickly wrote it around some chords I made up in the room.”
Forever is a confident debut, a masterpiece of modern indie songcraft. Across the album SUEP dip into country, synthpop, garage rock, post punk, and pub rock, but always retain their signature penchant for melodic hooks, snappy structures and straight-to-the-heart lyrics. Artfully unpretentious, the album was recorded by friend Matt Green, best known for his work with The Tubs, and mixed by Mike O’Malley of the band caroline.

Led by Georgie Stott and Joshua Harvey, SUEP have become fixtures of south-east London’s underground through a series of shared living spaces, improvised studios and DIY venues. Now with George Nicholls (The Tubs, Joanna Gruesome, GN Band), William Deacon (PC World), and Louis Forster (The Goon Sax, Expiry) completing the line up, their debut is finally on its way.
Forever is a glimpse into one of the best bands on the scene, not fitting into any trend, but also never fading into obscurantism - SUEP are a band that wear a joie de vivre loosely but fashionably. Now is their time to shine.

Working with 32 writers, vocalists, musicians, and producers across the U.S., the U.K., and Brazil, the album carries an intimate feel that resonates with vinyl buyers who value authenticity, context, and artistry. Blending roots- influenced Americana and soulful pop, the album delivers a warm, organic sound designed for full-album listening. With songs focused on relationships, friendships, and everyday life, Behind the Scenes offers a cohesive yet varied listening experience that encourages repeat spins and long-term shelf appeal. Performing, writing, and recording since the age of 16, lead singer Liz Lenten relaunched Auburn in 2012 and has since released four albums recorded in Nashville with Grammy-nominated producer Thomm Jutz, earning critical acclaim, an extensive international airplay. Liz tours regularly with Auburn Acoustic; hosts the podcast Behind the Scenes of an Indie Artist and was awarded a British Empire Medal in 2022 for Services to Music.

In 1983 Nana Vasconcelos came into contact with a group of young musicians from Quebec City, who combined their association with the avant-garde with a visceral love for Africa and the Far East. The entire album encompasses the musicians' multifaceted music experience infused by a sense of spirituality and mystery - immersed in an ocean of rhythm with one shore in Brazil and the other in Africa. Ntsano is now available on CD for the first time, plus 180g vinyl with cutting and pressing by Pallas Group, Germany. The limited edition LP is presented in a gatefold sleeve with booklet & each copy is hand numbered. The audio has been transfered from original analogue tapes.

Feel the sun, samba, and soul that define summer in Rio.



Summer in Rio blends smooth bossa grooves with mellow lofi beats, capturing the laid-back energy of Brazil’s most iconic city. Born on Rio’s beaches in the late 1950s, bossa nova fused samba rhythms with jazz harmony and soft vocals, a sound both timeless and deeply expressive. This 28-track compilation brings that spirit to life: the first 14 tracks dive into bossa lofi with guitars and syncopated rhythms, while the last 14 ease into warm, expansive summer lofi.



From beachside mornings to golden hour evenings, this is summer on loop.

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

For its 9th release after its relaunch, Apnea Records proudly presents another ERP record, this time in the form of a 2x12" Album "Faded Caprice" is a mesmerizing journey into the heart of summer's fading glow. Crafted with meticulous attention to detail, each track is a sonic tableau, capturing the essence of hot afternoons and wistful sunsets. E.R.P.'s signature blend of deep, cosmic funky electro gems resonates with emotional depth, inviting listeners to lose themselves in its hypnotic embrace. From the pulsating rhythms of "Miami Nice" to the introspective melodies of "Cape Earl "Faded Caprice" is a testament to E.R.P.'s artistry and vision. A testament to Gerard Hanson's music landscape, offering audiences a glimpse into the boundless possibilities of sound and emotion.

Long part of Portugal's ever expanding house scene, Bogdan Ra loves acid, and frankly, don't we all. This new drop on his Love Affair label offers up four more 303-inspired works full of dirtiness, sleazy texture and analogue punch. Side A opens with the classic leanings of 'Damn Fine' with a rasping acid line and hefty groove, while 'Habibi' is where eastern melodies meet jacked up drum work. Side B amps up the vibe with 'Feel', offering a faster, more edgy sound and 'Action' is a driving New Beat-inspired sound with phased bass, withering sci-fi synth motifs and darker, snappier moods and grooves for when the lights go down low and things get naughty.

Auntie Flo delivers two extended versions of Costa Rica based singer-songwriter Doe Paoro. If you liked Auntie Flo's 'Green City', check these...

Doe Paoro approached Brian d’Souza aka Auntie Flo to do a remix for her album 'Living Through Collapse' last year. He loved the parts she sent so much he asked her if he could do two remixes, press onto vinyl and release via A State Of Flo.

We're doing a limited run of 300 copies only, orange vinyl - so buy today if you don't want to miss out.

The tracks... Teach Us Of Endings - a classic balearic groove, gloriously uplifting disco-style strings and complete with Green City-style drum rolls and a killer Ziggy Funk bass line ... just waiting for those strings to come in...bliss

Maya - exotic, deep, hypnotic. Centred around a Ziggy Funk groove with analogue washes and Middle Eastern sounding instrumentation.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

Support from Colleen ‘Cosmo’ Murphy, Luke Una, Dar Disku, Paula Tape, Sean Johnston, Gabriels, Batida etc

Spectral, nostalgic, highly evocative, sometimes-desolate reflections — alone on the piano, and together with saxophonist and flautist Finn Peters — soaked in Satie, Ravel, and Mompou. Expressive and enchanting, but mournfully distracted, with a tentative, exploratory wonderment which reminds you of Paul Klee’s well-worn idea of a drawing as a line taking a walk. Easy to recommend to those of you who recently enjoyed Mashu Hayasaka’s Etudes LP, on All Night Flight. This is lovely stuff from Jesse, in an unexpected departure from his work with Elmore Judd, the Gorillaz, Nyege Nyege Tapes…

"HOPES AND DREAMS - Rare & Unreleased Psych-Soul Nuggets from the 1970s" marks the beginning of a new journey of discovery through the music history of the 1970s, which we hope will be just as successful as its predecessor, PRAISE POEMS. Curated by label headman & DJ Tobias Kirmayer.

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
 
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe. 
 
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”. 

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
 
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
 
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.

Classic 90s boom bap from Poor Righteous Teachers with two of their biggest tunes on 45 for the first time!

The Brooklyn Players’ track “Hypnotized” was originally recorded in 2003 by a group of session musicians for a UK newspaper’s CD series free giveaway, featuring classic disco and funk. Despite efforts to identify the band members, their identities remain unknown.
A sublime boogie track with wonderful vocals, “Hypnotized” will be loved by the dancers!!
The track is now available for the first time on a limited edition 7-inch vinyl (400 copies), released by Home of The Good Groove Records (Catalog No: GG004) on March 6, 2026.
The B side “Hypnotized (Timberman Bass Groove),” includes a fantastic underlying bass line groove laid down by one of East London’s finest bass players, Timberman, enhancing the original synthesizer-bass sound.
Enjoy!!

uper Deception dives into the uncanny beauty within the everyday, drawing inspiration from M.C. Escher’s idea of “super deception”: the art of creating the impossible without illusion. Nelson of the East translates that concept into sound: deep, tactile basslines and intricate percussion twist familiar rhythms into hypnotic new forms. Textures and samples are lifted from their origins and reimagined, creating tracks that feel both ancient and futuristic, physical and dreamlike. The result is an electronic landscape where sound folds in on itself: a timeless, shape-shifting exploration of rhythm, resonance and perception.

Nelson of the East is a Berlin-based sound artist, producer and educator. He operates at the intersection of experimental composition and club culture, shaping his craft both as a music teacher and behind the scenes as an experienced ghost producer.

Artwork & Layout by Alicia Carrera

2026 Repress

Creating music, sharing your sound, and performing — all from a small village on an island — is no easy feat.
Dear artist, do you find yourself in a similar situation? Then this record is dedicated to you.
Never forget your roots — and don’t forget to save your atoll!

Repress!

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark. Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground & after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega,
and many more ...

Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.
Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City.

A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from Armand Van Helden, Logic, Roger Sanchez (Underground Solution), Photon INC and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020 - Happy birthday Strictly Rhythm!

When creative souls collide special things happen. After several collab sessions, Osunlade & James Curd dawned about a style of it own. Something that embodied both midwesterner’s electronic soul approach to house and dance music. After a successful release “Chocolate Puddin’” the collaborations increased and so began Nomadics. With a slew of music the approach starts here. Better Man is a future house classic in our opinion! Starting with the re sang version of the Curtis Mayfield coined, Gladys Knight delivered On and On taken from the Claudine OST. Both parties are set to release the song simultaneously. James on his Pronto imprint with the original version and remixes by the talented Frits Wentink, Too Easy & Mr Ho. While Yoruba will release Osunlade’s Yoruba Soul Mixes. We are hoping to create cross pollinated bridge with these releases. Something for everyone is our aim!

As always your support and taste are a blessing!